This, the third novel by Graeme Macrae Burnet, shows the author setting himself up as a unique and original voice in Scottish crime writing. I’ve read and reviewed both the earlier novels (The Disappearance of Adele Bedeau and His Bloody Project) and this addition, published in 2017, adds further layer and texture to his career ahead of a new publication (Case Study) this coming autumn.
Here, we have middle-aged forty something Saint-Louis Chief of Police Georges Gorski, who becomes one of the two main characters in Adele Bedeau about one-third of the way through, again featuring as one of the two central characters alongside 17-year-old Raymond Barthelme, the Sartre-reading son of a leading lawyer in the provincial town of Saint-Louis and whose father is the subject of the eponymous accident. Both are, in line with the novel’s Sartre epigraph, ‘seekers after truth’: Gorski, aware and worldly-wise as well as world-weary, pursuing a line of police enquiry following the accident; Raymond, inquiring but vulnerable, after discovering a mysterious address written in a female hand on a scrap of paper in the foreign territory of a drawer of his father’s desk.
Burnet’s plot – as with Adele Bedeau – is slight and the novel is brief enough, at less than 260 pages: the accident itself, right there on p. 1, seems on the face of it to be just that but there are disquieting elements including some unexplained scratches on the car; while there is also doubt, expressed by Barthelme’s widow, the unfulfilled Lucette, as to why the car should have been on the A35 at all: her husband had long dined every Tuesday at the best restaurant in the town with his ‘club’ of friends. As both Gorski and Raymond pursue their own interests in the accident, each taking successive chapters, the voice changes while the issues that they are each grappling with (separation, bereavement, attraction, sexual fumblings, drinking and bars, relations with parents, existentialism and what being free truly means) become entwined as the novel builds towards its conclusion and as Burnet continues to evolve his two main characters.
The plot is slight, and largely very slow burning, although – in a slight criticism of the author’s judge of pace – the closing chapters explode into fire-crackers in which the characters (and the writing) evoke, in turn, emotional cruelty, sadness, humour, acute self-awareness, forgiveness and genuine pathos.
In a novel such as this, the emphasis falls very much on characterisation – something which Burnet has spoken about in a podcast for Scots Whay Hae! – and on the author’s ability to evoke people and their actions and the times and places in which they live – here, Saint-Louis, a real French town, at some point in its recent past. Despite being young in his writing career, Burnet is accomplished at this (at least, and this is a criticism, he is so (up to now) as far as the male characters of his novels are concerned): partly this is a question of having lived enough life to draw such characters with depth and maturity; and partly it’s a question of research: of reading – Burnet is a fan of Georges Simenon’s detective Inspector Maigret (though there are important differences as well as evident similarities between Maigret and Gorski), having been writing a blog on Simenon’s books; and of knowing enough about the places you’re writing about to ensure the characters can properly inhabit where they live (here, the product of a research grant to re-visit Saint-Louis). As Burnet’s afterword concludes – in what may partly be an attempt to deflect criticism about the slightness of his plot:
The real measure of ‘truth’ in any novel is not whether the characters, places and events portrayed exist beyond the pages of the book, but, rather, whether they seem authentic to us as readers… A novel is, in Sartre’s phrase, ‘neither true nor false’; but it must feel real.p. 255 Saraband hardback edition
This is not a contemporary crime novel, nor a police procedural, in which the plot twists and turns as evidence comes to light or which leaves the reader struggling to catch up with the mental gymnastics as the plots thicken; and fans of crime fiction may end up disappointed with the plot’s lack of complexity. The book does, however, encompass elements of both those things although it is, largely, a novel of mystery and the core of its undoubted appeal is its evocation of people and places, and their intertwining in a difficult interaction in which the character of the town and of its inhabitants come to reflect each other. Saint-Louis may not be as unfortunate (at least, in relative terms) as described (as Burnet writes in his afterword), although it appears he has done so authentically (that Scots Whay Hae! podcast), but the author’s capturing of its essential spirit reflects well the disappointment, snide cynicism and indeed anger with which those who choose to inhabit left-behind, somewhat historical backwaters frequently experience what life has to offer them.
Burnet’s other demonstration of his authorial skills lies in the extraordinary devices on which each of his novels hinges – here, that Accident purports to be Macrae’s translation (from the French) of a cult novel drawn from the pen of Raymond Brunet (‘author’ also of Adele Bedeau), whose work appears at least partly autobiographical. Here, some odd word choices and slightly awkward phrasing echoes well the linguistic framing of a novel that has gone through translation – posing an interesting conundrum for the French translators (Adele Bedeau already having been translated into French and this being surely destined to follow). The book’s foreword and afterword – in which Burnet sets out the novel’s influences in an unconventional, but appealing, way – are very much required reading.
This device hints at a further novel in this series and Macrae spoke – that SWH! podcast again – of this set of homages to Georges Simenon being a trilogy (but no more). It seems, from Case Study‘s page on Macrae’s website, that the forthcoming novel (which also features his familiar structural device) is not the closing part of this trilogy and this, which features a female central character, is likely to be a clear landmark in Macrae’s confidence in his ability to write female characters that have as much depth as his male ones. At the close of Accident, there are enough loose ends in the lives of the characters who so successfully bring its pages to life, and in Saint-Louis itself, that Macrae is surely far from being done with them when the third part of his French trilogy (eventually) appears. Both are keenly awaited.